The interview took place at Rembrandt, the house McCartney had bought for his father Jim in 1964. The detached house, on Baskervyle Road, Heswall, Cheshire, had cost £8,750.
McCartney was interviewed by Roy Corlett, who had been a fellow pupil at the Liverpool Institute when McCartney was there. The recording was broadcast on the following day’s edition of Light And Local from 12.31-1pm.
The Beatles’ recent recording activities were discussed, with McCartney saying that although The Beatles had been out of the public eye, they were busy in the studio. He also said business issues were occupying much of their time, and said he was glad of a break, saying he “still can’t stand business”.
Talk turned to Beatlemania, and The Beatles’ 1964 homecoming to Liverpool. McCartney compared it to scenes in Adelaide a month previously and their record-breaking first concert at Shea Stadium in 1965.
Magical Mystery Tour was mentioned, with McCartney offering a lengthy defence of the television film and saying that in 10 years’ time it would be better understood.
Corlett asked about public and press criticism of The Beatles’ private lives, which McCartney correctly inferred as meaning John Lennon‘s relationship with Yoko Ono. He discussed how he felt torn between loyalty to Cynthia Lennon and the realisation that John and Yoko were in love.
Drugs, songwriting methods and family life were also discussed towards the end of the interview. McCartney ended by looking into the future, saying he didn’t want to be playing rock ‘n’ roll at “sixty with grey hair,” but that he’d continue singing and making music until his last days.
Olympic Sound Studios, London
Producers: Glyn Johns, Steve Miller
The Beatles’ earlier mixing session at Olympic had ended in acrimony when John Lennon, George Harrison and Ringo Starr had attempted to persuade Paul McCartney to sign a contract to officially appoint Klein as Apple’s financial manager.
The other three Beatles had signed the contract on the previous day, but McCartney wanted to hold out. All four Beatles and Klein were present in the studio, but the session ended when all but McCartney walked out.
There was a big argument and they all went, leaving me at the studio. Steve Miller happened to be around: ‘Hi, how you doing? Is the studio free?’ I said: ‘Well, it looks like it is now, mate.’ He said: ‘Mind if I use it?’ So I ended up drumming on a track of his that night. It was called My Dark Hour – a good track actually. He and I made it alone. I had to do something, thrash something, to get it out of my system.
Glyn Johns had been producing an album for The Steve Miller Band. On this occasion Miller turned up at the studio alone, and McCartney found him a sympathetic listener. The pair jammed, with Glyn Johns in the control room, and a song eventually emerged.
Steve Miller happened to be there recording, late at night, and he just breezed in. ‘Hey, what’s happening, man? Can I use the studio?’ ‘Yeah!’ I said. ‘Can I drum for you? I just had a fucking unholy argument with the guys there.’ I explained it to him, took ten minutes to get it off my chest. So I did a track, he and I stayed that night and did a track of his called My Dark Hour. I thrashed everything out on the drums. There’s a surfeit of aggressive drum fills, that’s all I can say about that. We stayed up until late. I played bass, guitar and drums and sang backing vocals. It’s actually a pretty good track.
It was a very strange time in my life and I swear I got my first grey hairs that month. I saw them appearing. I looked in the mirror, I thought, I can see you. You’re all coming now. Welcome.
Many Years From Now, Barry Miles
McCartney recorded drums, bass guitar, backing vocals and guitar to the track. Miller sang and performed all the other instruments. My Dark Hour appeared on Miller’s 1969 album Brave New World, and was released as a single in the US on 16 June, though it failed to chart.
McCartney didn’t receive a composer credit, but his performance was attributed to Paul Ramon, the pseudonym he had used in 1960 while on a tour of Scotland with The Silver Beetles.
Studio One, Olympic Sound Studios, London
Producer: George Martin
Engineer: Glyn Johns
Thus far, all the Abbey Road songs recorded had previously been debuted during the Get Back/Let It Be sessions in January 1969. That changed on this day with the recording of a new song, Paul McCartney‘s You Never Give Me Your Money. Read more »